Review: Ladybones

Archaeologist Nuala unearths a skeleton and her ordered life starts to unravel. Digging into the mystery of the bones, can she handle the chaos of what she discovers?

Ladybones is an uplifting and compelling story, based on writer-performer Sorcha McCarffrey’s personal experience of OCD, dungarees and being weird (but not a weirdo).

The play was interesting, exploring OCD, the digging up of bones, probing the past and an adult disability group staging Hamlet. All of the stories were engaging, although it was a lot to fit into an hour: it meant that the closure of some storylines felt rushed and missed the impact they could have had.

Stylistically, the play felt like a participatory version of Fleabag (which is a reference I acknowledge will be applied to most one-women plays at the moment, and one I’ve chosen purposefully). Told in a continuous monologue, McCarffrey’s characters are cleverly brought to life with considered descriptions and exaggerated features that grab the audience’s attention.

There was an interesting queer storyline that started to develop throughout Ladybones, looking at Nuala’s sexuality and the differences between romance and comfort. It would have been interesting to see this explored further, though it would have been challenging alongside the other themes of the play. Regarding the exploration of OCD, I didn’t get quite as much out of this as I would have liked to, and enjoyed the stage presentation of it through counselling sessions and audience engagement.

I very much appreciated the audience participation throughout Ladybones. On arriving, audiences were given pink stickers if they wanted to participate – but there was no pressure to get involved. This is the first time I’ve been presented with the option, and I really appreciated it. It’s certainly something I’d like to see adopted more often.

As a whole, the play was sharp and funny – when it hit the mark it delivered really well. A good piece that needed a little bit of tightening but certainly worth a watch.

© Megan Holland 2020

Ladybones was a part of PUSH Festival at HOME, Manchester. PUSH Festival runs until the 1st Feb, 2020, for further information and booking details please visit their website.

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Image @ Alex Brenner

Review: Jack and the Beanstalk

Theatre Peckham

Halfway through Theatre Peckham’s innovative telling of Jack and the Beanstalk, the performance transforms. The set morphs into a Coraline-like nightmare of darkness and glowing white figures which jerk creepily across the stage, changed totally by different lighting.

Those of us who’ve had our fair share of Christmases have been to the giant’s lair in the sky a few times by now, but none of them have glowed quite so unsettlingly as this.

This set change is similar to what they’ve done with the story: on the bones of normality, a fantastical creation has risen up. A brilliant young poet getting stop-and-searched by two rogue policemen wasn’t in the original Jack and the Beanstalk, but I’m quite a fan of adding both poetry and light criticism of abusive police officers to the story.

The young actors add a lot of fun to the performance. On the night I see it, Nova Skyla Foueillis-Mosé plays a sparky Boz the criminal, and Jolie Green-Molloy’s mournful cow brings a touch of Eeyore to the performance. Jack and Lucy are the stars of the young Theatre Peckham’s Academy cast, performing confidently alongside grown-up actors who provide a supportive stage for their counterparts as well as taking their time in the spotlight.

It wouldn’t be a pantomime without some audience interaction, including not one but two singalongs. The second of these feels a little too sedate for the climatic fight against the giant that it’s woven into, and the shy singers among us struggled without an easy rousing chorus.

It’s the details that really make this production, like an old Waitrose shopping bag sticking out of the green of the beanstalk. The singalong is split not between boys and girls but between low voices and high voices, a gentle touch that means everyone can join in. Recycling and inclusivity – that’s the Christmas spirit for the end of 2019.

This show runs until Dec 22nd 2019

Review © A. Lewis 2019

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Photo: Suzi Corker

Review: The Little Prince

Omnibus Theatre, London
Until Dec 30th

Choosing a festive show for all of the family to enjoy can be a daunting responsibility especially if you have children of multiple ages, but I would highly recommend Omnibus Theatre’s The Little Prince as a show for all.

A touching tale, based on the original book (Le Petit Prince) by Antoine de Saint-Exupéry, this version, adapted by Sally Pomme Clayton and directed by Marie McCarthy, blends puppetry, quirky characters, gorgeous projections, live music and dance to create a twinkly winter treat.

The multi-talented cast of three are dynamic and fun, Comfort Fabien plays an energetic and sweet Little Prince while Vera Chok and Royce Cronin take on a variety of roles, all of which are joyful to watch.  The children laugh as Rose, played by Cronin, emerges in a dress, but he owns the femininity which is glorious to watch and the children clearly adore this character. I particularly enjoyed Chok’s playing of Fox, whose idiosyncrasies and one-liners made me chuckle – whilst their flossing certainly got the kids on board. 

The set by Sophia Pardon is vast and mesmeric – very much like space. The audience enter through the theatre through the set, greeted by the characters, which really adds the feel of stepping into another world. 

There are several magical moments, from projected drawings, to unexpected emergences from the set, one of my favourites though was when the Prince flies with the birds; the use of sound and projections make these sections truly enchanting, and really allow the imagination to take off. 

From tiny babies, to ten year old boys, to grannies – the audience spanned all ages on the morning I attended; one of the strengths of this show is that its tone is pitched just right for it to be enjoyed by both adults and children; its touching message about friendship certainly made my eyes prickle more than once. Its generous measures of silliness and joy, theatrical illusion and heartwarming storytelling make The Little Prince a must see for families of all shapes and sizes this Christmas. 

The Little Prince runs at Omnibus Theatre, Clapham Common, until the 30th Dec: 10:30am & 1:30pm (weekdays) and 11am & 2pm (weekends)

Book now

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Image © Dan Tsantilis

Review: No Place Like Home

By Alex Roberts
Camden People’s Theatre

Last week one of my best friends, Mario and I went to see No Place Like Home at Camden People’s Theatre and we have probably never made a better choice for our friendship.

Starting in a darkened theatre, mind-blowing visuals were projected while Alex Roberts danced on stage to stimulating techno music. The music lowered as he started rapping; telling a familiar story set in a club of the London gay scene and it was clear from the audience’s laughter that we agreed on how stereotypical our world can be. Mario and I turned to one another,  telepathically remembering that first time I took him to G-A-Y.

It was highly engaging; we were laughing and having fun, whilst Roberts surprised us with great poetry, depicting how the gay scene brings together with friendship, sex and love. Music, visuals and poetry, had us utterly hypnotised while Alex told a story that many of us could relate to, he couldn’t have captured it better; the story of every person that has experienced the London gay scene, merged with a bit of Whitney Houston, some amazing singing, so many surprises, it was both entertaining and  cinematographic.

I was completely amazed by Alex Robert’s singing talent, and as the story he told got deeper and deeper, I made a mental post-it note to Google him later. He depicted how fun it can be, how many friends you can make, the flirts and kisses, how much laughter and memories that gay London can give us, and how that all always comes at a price. The heartbreak, the loneliness, the tears, the search for fun that you had for years that slowly turns into realisation of a state of desperation and loneliness, desperate loneliness.

The way Alex described how desperation feels felt like a punch in the face; because the London gay scene is not just about finding flirts and company but the search for love and the search for a home. The story was strong, specific and surprised me from the start to it’s totally unexpected ending.

© Laura Di Stefano 2019

This production has now closed, but follow @roberts1_alex on Twitter for info on upcoming performances.

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Review: Roots

By 1927
HOME Manchester until 28th December

Roots is a poignant and immersive family friendly show that’s a captivating watch regardless of your age. Taking rarely told folktales, and bringing them to life through a mixture of animation, sound and live performance – the audience is taken on a journey that includes fat, fat cats, magical birds, and a well-endowed King. The narratives might be taken from the past, but they feel relevant to our present and future – and it felt particularly poignant given that we were watching the show on the same evening as the general election.

The fables were told through animation, live performance and sound, with an extraordinary visual style that was engaging throughout. The entire show was testament to the high standard of work that 1927 produces, and their performances, comedic timing and ability to integrate with projection and animation is truly impressive. 1927 consistently use technology in performance in a progressive way, while retaining a sense of whimsy and a style that feels as though it could have jumped straight out of an old cartoon.

The style of Roots is reminiscent of The Triplets Of Belleville or perhaps Roald Dahl’s twisted Tales Of The Unexpected. They tell stories that seem innocent, but aren’t afraid to step into the darkness and leave you thinking. One story that stood out in particular was the tale of a man who lived with poverty, and how hard it was to make poverty leave. It felt relevant and striking within the context of the current political climate.

As a whole Roots worked really well. Some of the fables were more enjoyable than others, but their ability to tackle a format that is constantly changing throughout and keep the audience’s attention is an splendid feat. The show itself is a visual feast, with fantastic performances and captivating sound.

© Megan Holland 2019

This production is at HOME, Manchester until 28th Dec 2019. Book now.

Following its run at HOME, Roots will go to:

The Old Market, Brighton, UK, 3-19 January 2020
Centro De Las Artes, Santiago Chile, 22-25 January 2020
Theatre de la Ville Paris, Paris, France, 24 – 29 March 2020

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Interview: Teddy Lamb

Teddy Lamb is currently undertaking a number of roles in Shotgun Carousel’s The Red Palace, an immersive dining experience playing at The Vaults until 12th Jan.  We caught up with Teddy to find out more about their experience of working on the show.

Interview © Amie Taylor

AT: How did you come to be cast in The Red Palace?

TL: I saw a call out on Twitter. I have some friends who were in the last Shotgun Carousel show – Len Gwyn and Molly Beth White – so I got in touch and asked if they’d had a good experience and if they’d recommend working for them, and they both said ‘yes – they’re great people!’ It was a really nice audition process as well; they sent us a speech from all of the characters and asked us to pick one we felt connected to.

AT: What is The Red Palace about?

TL:  It’s inspired by both Edgar Allan Poe’s Masque of The Red Death and by Grimm’s fairytales, so it’s set in a fairytale kingdom where a prince is hosting a ball to celebrate a thousand days of his reign. He’s brought together all of the rarest treats from around the kingdom for the audience to experience, as well as that the audience can interact with mermaids, Hansel and Gretel and Little Red Riding Hood. However what the prince doesn’t know is that there’s some revolution stirring in the kingdom and that all comes to a head during the course of the evening. You can immerse yourself in to the story as much as you like and even talk to the characters, or you can have a drink, have a dance and take a step back – it’s up to you. 

AT: What are the key differences for you between this kind of interactive and immersive performance and more traditional style theatre that you do?

TL: This show keeps me on my toes a lot more; every night is completely different – which is the same in more traditional theatre, but even more so in this because the audience are asking you questions, sometimes they’re jumping up and getting involved in scenes, and at other times they’re getting a bit too involved and you need to calm them down, or sometimes they’re not giving quite enough and you need to hype them up. It feels like you can build a greater connection with each individual audience member. 

AT: Have you got any favourite audience moments or anecdotes from the run so far?

TL: Hmmm, I play three different characters and rotate depending on the night, so the experience is different with each character – when I have played The Wolf, you get a lot of pushback from audience members and they can be quite sassy with you, but then it’s also so much fun to put them down, last week someone started shouting out at me mid-scene, and I turned and shot them a look straight in the eye and you could see they thought it was hilarious, but it also did the trick and they stopped shouting at me. Afterwards as I was leaving they came to talk to me and said what a great experience it had been. Shotgun [Carousel] teach us how to deescalate situations in a really positive way. 

AT: You say Shotgun Carousel teach you how to deescalate situations, is there anything else in their training that was different to working on a more traditional theatre show and what was the creation process like? 

TL: It was hugely collaborative, which was great. On the first day of rehearsal Selene who directed, Cressida who wrote the show and Laura who produced were all there, and they had the narrative, the outline and who the characters were, but because we all multi-role and play a range of characters, we were able to create our own versions of the characters. It’s an all female and non-binary cast, so we all create versions of the characters within our own gender identities. We’ve really bonded as a cast, so it’s been a really wonderful experience becoming a part of the Shotgun Carousel family. 

AT: Would you say having non-binary people in the cast, and playing a part in the creation process, has resulted in the work being quite queer in its nature?

TL: Yeah, there are queer narratives throughout the show and there are some characters that within our universe they are canonically queer and their love stories are always queer, and then sometimes it depends on the casting that day. So when I play Snow White I have love scenes with both cis women and non-binary people, depending on what night you see you may see a trans for trans romance or a trans and cis romance. 

AT: Do you feel like working in this way has taught you things that you will take back with you to more traditional theatre?

TL: Oh totally!  Your stage presence has to be dialled up to 300, because there is no stage; you have to walk in to the room with the confidence and the energy to make everyone turn and look at you, because there’s nothing separating you from them other than a microphone. I’ve learnt so much about deescalating rowdy audiences and creating intimate moments for audiences, that only one or two people may see. 

Huge thanks to Teddy for speaking to us!

The Red Palace runs until 12th Jan and promises to be an exquisite night out for you and your friends. Book Now. 


Screen Shot 2019-12-10 at 09.31.54.png© Nic Kane Photography

Guest Blog: Lochlann Jain

Award-winning writer and artist Lochlann Jain tells all about how categories affect gender and sexuality in new book Things That Art: A Graphic Menagerie of Enchanting Curiosity (University of Toronto Press, available from 7 November)

Lochlann Jain is an award-winning writer, artist and professor of anthropology at Stanford University and Kings College London. As a bi-racial, non-binary, queer person living across the UK and USA, Lochlann Jain is constantly fighting the world’s everyday obsession of stereotypes and categorisation.

They explain: At birth, gender bequeaths a baby’s humanity, not vice versa. Is “it” a boy or a girl is the question that directs all others: Does he have his father’s nose? Does she have ten fingers? Knowing “Xavier is a boy” leads to asking “what kind of boy is Xavier”—not “what kind of person is Xavier.”

This sorting by sex and the ongoing project of “boying” and “girling” our children through intensive instruction is largely considered the most natural thing in the world. Induction into the social codes of masculinity and femininity teach us what to wear, how to spend time, our habits of posture—and most importantly, how to relate to others. Girls are girls and boys are boys, identities stuck on with the same enthusiasm—and good intention—we use to tape that oversized pink paisley bow to a bald baby’s head.

While the vast majority believe in a gender binary, many good liberal westerners, at least in theory, believe that girls should also have access to the things that until 5 minutes ago have been the exclusive rights of boys and men: to inherit, become doctors and engineers, defend their country, be paid equally, play football in public parks, become prime ministers and presidents. And similarly, that boys and men should get to unapologetically cry, parent, cook, and make close friends. In other words, that humans should have opportunities to physically and emotionally flourish.

Various strategies have made some strides in levelling the playing field, as it were: redistributing funding, mandating inclusion, improving educational opportunities and so on. But why, then, is it recent news that an all-female crew of astronauts conducted a space walk? How could that possibly have taken 50 years? Clearly, there are limits to such measures’ success.

In part, this is because unequally gendered access to public culture is not just about the here and now. Male access, lives, and accomplishments have been materially and intellectually cemented into everyday life. From street names to war memorials, from emperors to CEOs, from super heroes to sports heroes, when we learn about, and experience, how the world came to be, it is through the stories of men, by and large.

Roughly half our children tend to be “boyed” in infancy, in a process that encourages them to identify with representations of maleness generated through these myriad historical and fantastical figures. These youngsters may not become King Arthur or Maradona but they can code their behaviors and entitlements in line with them in ways that are straightforward and with little effort.

“Girled” children, on the other hand, can’t simply be Batman or Einstein with the ease and clarity that a boy can. Even the girls with the most progressive parents find themselves surrounded by ubiquitous and glorified boy-characters. It takes some mental gymnastics for someone told they are a girl—the opposite, the complement, the foil, or whatever, to a boy—to find kinship with the male characters that dominate the social world. When girls want to be engineers, kings, street names, or genius entrepreneurs, they have to first take one great leap across the invisible, internalized barrier of what is even possible, and then navigate the judgement (and sometimes outright scorn) reserved for the suspected ambitious girl, the tom-boy, the lesbian, or trans-boy.

It’s this history of representations, built and instantiated over generations, that is so intractable. It’s said that JK Rowling dreamed up Harry rather than Harriet Potter because, while girls will read anything and everything, boys will only read stories about boys. Possibly apocryphal, the story rings true. And since a culture geared to selling—whether it’s books, movies, or overpriced plastic wands—is unlikely to challenge this, and because all our other efforts toward equal pay, equal representation, and equal opportunities are less than triumphs, we need another strategy.

What’s left? Could we nip this in the delivery room, so to speak? What if we resisted boying and girling our children for a few months or years by not showing or telling them which gender they ought to identify with—at least not right away.

This would be a stretch for most people, no question. To make the effort to think around, rather than through, gender would take some linguistic heavy-lifting and ongoing work. It would be a significant ask of friends and family: it’s difficult to talk about a baby without using he or she pronouns. But it’s not impossible—after all, we are known to take care over our babies’ names. And from there, decisions would have to be made about clothes and toys. Would we move toward gender-neutral greens and yellows, or alternate between pink and blue?

This may feel deeply unsettling. That’s because we have been trained see a genderless baby as a rootless baby, an unmoored baby. How would the baby know how to slot themselves into the world? What games would they play? And later, which bathroom would they use? The bow and the bow-tie are the paths of least resistance for already exhausted parents.

On the other hand, a new generation is expanding feminist and queer movements in new ways, questioning or shunning gender binaries. Their giant leap of imagination is to be liberated from these exhausting codes, or at least to have some say in how they are re-written. Arguably, this model of gender-deferral offers a much less violent approach to the current practice of telling our girl-children that they can do anything boys can, while offering mostly male models for doing so, and thus requiring inhuman psychic contortions for them to merely conceive of the conditions for their own success.

Consider the opportunities for self-actualization available through this proposal. What if it turned out that once the stigma of changing diapers or being a nurse were removed, in fact a good portion of little people welcomed the role of caretaking, regardless of what was under their clothing? One imagines that a lot of people might be great at it, and some of those would advocate to give the history of care-taking a larger—even equivalent—role in institutions from actual hospitals to military museums. The history of care-taking would no longer be “women’s history” added as an afterthought among the vast halls of swords, chest-plates, and medals, but would take its rightful place as a fully-fledged component of human history.

To be sure, it’s not a solution, but at least it’s a thought experiment with the goal of unburdening future children from the trap of history. It’s worth considering why it’s so hard to wrap our heads around giving up gender; what we are afraid of; and what the real stakes are of reproducing the gendered roles and hierarchies that most consider to be, and many experience as, retrograde and diminishing. Assuaging our own fears may not warrant the stunning losses in cultural capital that they continue to produce.

Lochlann Jain’s Book: Things That Art: A Graphic Menagerie is now available to buy.

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Review: Escape from Planet Trash

By Sink The Pink
At The Pleasance Theatre, London until Dec 22nd 2019
4 *

For a concept so inherently camp, pantomimes rarely fulfil their possibilities. When LGBTQ collective Sink the Pink put one on at the Pleasance, my hopes were high.

The set smokes with anticipation as we get settled, like it’s lying in wait. Through the play it transforms multiple times, with a fun design and characterful dressing that make creative use of the stage, and thoughtful lighting to complement the shifts in setting.

We start with a barrage of exposition, much of which I don’t really follow, then a neat segue into the first musical number. This is a hint of what’s to come; the loose story strings together what feels more like a series of related sketches.

Mairi Houston commands the stage as Star Corps captain, and delivers some of the best songs. David Cumming’s character, Sonny, drives much of the emotional arc, and he carries it well with a peculiar and endearing presence onstage. A couple of issues with audio mean that some performances don’t quite get done justice, but the cast cope well.

Some of the most fun moments happen when everyone is onstage. They’re clearly delighted to have a rotating stage to play with, and it’s a pleasure to see them make good use of it. Having them all onstage at once also gives us a chance to enjoy the full range of the outrageous and wonderful costumes.

The jokes are pantomime quality, and perhaps I hadn’t drunk as much as I should have, but I’d have liked more of them. Jokes about weight and ambiguous genders are standard for panto, but it’s a little strange to see a few employed here without more complexity. Other comedy lands more powerfully; the second half introduces a spectacularly satirical pair of space travellers who skewer the trope of exploitative, photo-happy tourists.

If you’re looking for a pantomime that strays from the fairytale but hits all the usual bases, Planet Trash is the place for you – as long as you can cope with the smell.

© Anna Lewis 2019

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© Image Ali Wright

Review: Oh Yes Oh No

Battersea Arts Centre 12th -23rd November (not 17th) 8pm
BSL performance on 19th November

It’s been nearly 24 hours since I’ve seen this show and I am still processing it. ‘Oh Yes Oh No’ is not like anything I’ve seen before. It is incredibly honest and also off the wall.

Writer/performer Louise Orwin tells us that this is ‘not a show about female desire but it is about what it is like to attempt to understand your own experience of desire and sexuality when you live in a culture which tells you day in and day out that sexuality if not for you’.  This is a performance that combines a very light playfulness with discomfort. The audience is an active participant even in its passive state, watching everything unfold.

Upon entering the space there is humming, throbbing kind of industrial soundtrack. Louise is sat on a chair dressed in black, her hair long and white  – a life sized doll. And then you see the exact same set up but in miniature with a Barbie doll sat on a chair. There is a beautiful kitsch aesthetic to Kat Heath’s set design, which I loved.

Louise then introduces herself, speaking through a microphone, which distorts her voice into something plastic and robotic. Initially I found this a little jarring, as it was all I could focus on. However I did quickly get used to it and it is an incredibly effective use of sound, particularly in how it very quickly creates this idea of fantasy and play.

We are told this is a fantasy space. An audience member becomes part of the action and is representing all of us. There is a particular excitement that comes into a room with this kind of interaction and I love the idea how depending on the person, this could greatly shift the energy in the room.

There is also a large screen at the back onto which text is shown throughout the show. The way this is utilized throughout the play gave me a sense of a kind of dystopian karaoke (which is a great thing!) and also conjured up a sort of J.G Ballard mood.

Oh Yes Oh No walks a line throughout of fun and games but with the threat of danger, always the threat of danger and manages this intricate balance with great consideration but also utter rawness.  This is a piece of theatre that cannot fail to move its audience in some way though do please note it may be very triggering for some people.

The sound design by Alicia Turner was bold and effective. The use of voiceovers was really powerful and proved to me that when done right, a voiceover can really feel like a physical presence in a space.

Finally, Louise Orwin. Wow.

This is a thought-provoking piece of theatre at its boldest. 

© Sarah Browne 2019

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Image © Alex Brenner 2019

Review: Aladdin and The Feast of Wonders

The Vaults, London
Until 15th Jan 2020

“Ladies, Gentlemen and the elite that transcend the gender binary”… if there’s an experience worth having this winter, Aladdin and The Feast of Wonders is IT! It’s crude, it’s bawdy, it’s salacious – it’s completely and utterly belly-shaking hilarious. Where to start? I suppose at the beginning, we are welcomed in to Widow Hankey’s Lauderette: White Washing, where we learn that the she is struggling for cash, and also that Princess Jizzmine only has until midnight to find a suitor or risk losing the crown – the race is on!  It’s got all the trimmings of a traditional panto, with a large side-helping of delicious noodles – or Mama’s Noods as they are known in these parts. Before too long we are whisked from the laundrette and on to a grand banqueting hall, where the Feast of Wonders commences. What made this immersive dining experience stand out, was that as much attention has been paid to the delightful menu, as it has to the set, as it has to the performance, offering a spectacular treat for all. 

The humour is filthier than some of the laundry in Widow Hankey’s launderette – however, unlike traditional pantos, they avoid humour targeting minority groups and cis-het inuendo, which can often leave queer audiences standing on the sidelines. The Feast of Wonders is delightfully free of gender binaries and norms and heterocentric language, which for me was what made this panto one of the best in a long time. As well as this, the Vaults approach to zero-tolerance of cultural appropriation in terms of dress code feels like an incredibly hopeful and positive step forward regarding the damage and oppression pantomime in the UK has historically caused. 

The talented cast are clearly having a whale of a time performing the show, which results in us having a whale of a time watching. Angelo Paragoso plays the entirely lovable Villain Jaclose, whilst Janina Smith brings cheeky, chappy Aladdin to life and succeeded in some hilarious audience banter while we partook of the feast. 

The food is sumptuous, a slick operation run by Pop Co, means each course is served swiftly between scenes. Vegans – you’ll be happy the jackfruit features heavily in this feast, in fact they cater for all diets, as long as you let them know in advance! The food is themed around the story and each course brought together a blend of delicious flavours; Princess Jizzmine’s Milk was almost a little too graphic for me to stomach, but so delicious in actuality, I more than managed!

The ending of the show is unexpected, touching and a complete breath of fresh air, it’s riotous and triumphant .  One slightly tipsy punter tried to incorporate herself in to the final scene, and was gently led to the side by Window Hankey – this was a sure sign of success for the production, I too thought how much I desperately wanted to be a part of the fun they were having. Fortunately for that over-zealous punter, everyone is invited on stage at the end and there is the chance for a dance, as well as to meet the characters. 

I could not recommend this experience more, and with tickets costing from £40 (standard) to £75 (for VIP) it’s an absolute steal – you’d be ridiculous not to to get yourself down to the Vaults as soon as you possibly can!

© Amie Taylor

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